As a freelance coach and actor trainer, I specialise in devising and composition, scene study, audition technique, and show creation. I focus on the actor’s process by supporting them in finding ownership of the work. My knowledge of various practices and approaches provide me the tools necessary to communicate with theatre makers across a wide range of techniques no matter their working methodology. For this reason, I offer bespoke coaching tailored to your needs!
Coaching should be fun, challenging, destabilising, and bring something new to your performance, so get ready to be provoked into playing!
As a teacher and practitioner, I specialise in devising practices, Play, Live Art structures, Active Analysis (Stanislavski), Viewpoints (Bogart’s and Landau’s), and improvisation. My rehearsal processes vary from show to show but are drawn from practitioners such as Thomas Ostermeier, Told by an Idiot, Mike Alfreds, Frantic Assembly, and Complicité.
Other areas of interest include postmodernism, performance, Postdramatic theatre, Kaufman’s Moment Work, the work of Ivo Van Hove, and long form improvisation in theatre.
'Cory is an exciting, dynamic and passionate theatre practitioner. He is a natural acting coach and very approachable. Cory is a creative talent across several disciplines, such as acting, directing and coaching, which is what makes him such a joy to work with!' - Sophie Mensah (acting teacher - Royal Central School of Speech and Drama + East 15)
MFA THESIS 2018
Clicking on the above will allow you to read my thesis and research into something which I have called ‘auto-creation’, an entirely solo practice and methodology which destabilises current structures of theatre-making practices and actor training. It offers some arguments which attempt to introduce training for scratch nights and work in progress evenings as a way to respond to the changing cultural conditions in the theatre sector. It collapses the role of maker, performer, designer and producer into a single person. The research surveys the history of actor training and the economic models of theatre making, including public funding, before theorising ‘auto-creation’ by engaging with post-modernism, the study of performance and Postdramatic theatre. It ends by offering a practical framework for this new approach using Halprin’s RSVP Cycles and a range of practices that can be adapted for the ‘auto-creator’.